R. Stevie Moore is referred to as the founding father of Lo-Fi and home-recording, a pioneer in the DIY ethic, and one of the progenitors of underground tape culture, that began in the early '80s, and later evolved into the cd-r/mp3 revolution of today. Around 1981, he founded the RSM Cassette Club, and began a self-made bedroom label, through which he still sells his music directly via-mail.

He composes, arranges, produces, sings and plays all the instruments in his home-made compositions. The music comes in all colours - from Psychedelia to New Wave, Country to Punk Rock, but also Power Pop, Electronic, Glam, Folk, Found Tape, Prog, Spoken Word, Noise, Funk, and any other man-invented style you may care to mention.

He appears to be something of a musical sponge, synthesizing an insanely varied lot of influences, styles and moods into a continuous sound collage that somehow manages to work together as a logical whole. A pop wasteland of disjointed bits and pieces, where extremely well-crafted songs are interspersed with spoken interludes, instrumental themes, and snippets of found sound.

Something somewhere in the line of what Beck was doing in the early '90s, but a few decades before its time.

Inspite of Nashville's closed cultural circuit, Moore absorbed as much as he could from the '60s and '70s musical renaissance. The result was a very unusual hybrid; or as Stewart Mason (All Music Guide) so eloquently described: "a one-man band version of the Beatle's "White Album," cross-polinated with late-60s Zappa at his most antic."

But though eccentric, his music has a surprisingly broad appeal. Moore has an acute flair for extremely catchy pop tunes, delivered with such an inventive freshness and heartfelt authenticity, very reminiscent of the fruitful days of British Invasion and Punk Rock. He is often mentioned as the man responsible for having written "the best 100 pop songs that no one ever heard."

"Unsung Hero only touches on the injustice of obscurity for this wry, heartfelt artist whose limber genius, vitality and productivity make him a far more profound cultural asset than any number of next-big-things with maybe 2 good albums in 'em. Why no major label has ever signed him is one of the modern era's mysteries."

Trouser Press, 1997

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